6 notes · six equal steps
Six notes, every step a whole tone, so it has no semitone anywhere and therefore no leading tone and no perfect fifth. Nothing in it points anywhere, which is why it is used to suspend a moment rather than to move through one.
Heard in: Debussy, cartoon dream sequences, and over a 7♯5.
The whole scale, with each note’s degree underneath it.
Every degree of this scale builds the same chord -- an augmented triad -- because the scale repeats every whole tone. There are only two whole-tone scales in all, and each one contains six augmented triads that are all the same three-note shape moved.
The chords on B whose every note this scale contains, biggest first. The largest of them is the one that pins the scale down: over B9b5 there is nothing in B whole tone that can sound wrong.
Every scale on every root is on the scale index, and every chord on the chord index. Where the shapes and the theory come from is on the about page.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.